An album that almost went unnoticed by modern listeners until the shoegazers started citing it as an influence. Key members Jason Pierce (aka 'J Spaceman') and Peter Kember (aka 'Sonic Boom') are masters of the minimalist drone, on this album applying it to a conceptual drug trip. 'Roller Coaster' reveals the Elevators influence.
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Isn't Anything My Bloody Valentine 1988 [Creation]
Anyone who expects this to be just a toned-down precursor to 1991's classic Loveless album is in for a surprise. If anything this record is the more experimental and psychedelic of the two, while still containing shades of the group's dream pop heritage. As a sign of what was to come there are also a handful of shoegazing gems.
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Erpland Ozric Tentacles 1990 [Dove]
English Space rock outfit noted for a long string of independent homemade releases, starting in 1985. Here the Ozrics prove they have successfully made the transition to the digital age (i.e. no more cassettes) and work their way through a typically eclectic set of spacey neo-prog offerings. About as 'indie' as music can get.
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Loveless My Bloody Valentine 1991 [Creation]
The album that inspired a host of shoegazing imitators took two years to make at a cost of £250 thousand, almost bankrupting their label in the process. Singer/guitarist Kevin Shields was obsessive throughout, with engineers coming and going like dirty underwear. The result was a sonic masterpiece that continues to grow in stature.
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Transmissions from the Satellite Heart The Flaming Lips 1993 [Warner]
Outstanding indie rock outfit that makes a habit of getting their music onto really cool TV shows. Here guitarist Ronald Jones and drummer Steven Drozd join the lineup as the band plots a seemingly pre-destined course towards neo-psych stardom. For pure pop perfection it is hard to go past 'She Don't Use Jelly'. Absolutely brilliant.
The most psychedelic of Porcupine Tree's early albums kicks off with a little monologue that would make the Moody Blues proud. The record continues through some atmospheric space rock and, of course, Steven Wilson's driving guitar. It makes for a pleasing mix, although very different to later commercial efforts like In Absentia (2002).
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A Storm in Heaven The Verve 1993 [Hut]
England's the Verve would eventually hit it big with the classic pop sounds of 1997's Urban Hymns, but their full-length debut finds them firmly in shoegaze/space rock territory. The talent on display is obvious, with expansive workouts offering up dreamy psychedelic excursions into the recesses of the mind. An excellent record.
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Amanita Bardo Pond 1996 [Matador]
Philadelphia space rock outfit Bardo Pond specialises in lengthy guitar-based excursions rife with feedback, distortion and fuzzy reverb. Song structures are typified by sonically lilting openings that work up to some stoner-style heavy riffing. The 10-minute opening opus 'Limerick' sets the scene and, after that, things never let up.
